Conceived as an introduction to a vast, immensely rich and diverse set of repertories, this book explores the sounding forms of Sub-Saharan African music. Aimed at a general musical readership, it ...
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Conceived as an introduction to a vast, immensely rich and diverse set of repertories, this book explores the sounding forms of Sub-Saharan African music. Aimed at a general musical readership, it describes the major dimensions of African music and the values upon which they are built. An opening chapter invites readers to sample the basic qualities of African music and reflect on the challenges of writing about African music. In subsequent chapters, the book discusses the place of music in society, musical instruments, the relationship between language and music, rhythm, melody, form, and harmony. A final chapter traces various appropriations of African music. In conveying the dynamics within each of the core dimensions, a broad orientation is typically supplemented by close readings of selected repertory items. These include an Ewe dirge, an Nkundo lullaby, an Aka Pygmy children’s song, an item of Central African entertainment music, an art song, and a piano etude. Although the focus throughout is on Africa’s “traditional” heritage, here regarded as the backbone of Africa’s musical thinking, a few items of popular and art music are included to demonstrate the range of African musical imagining. Frequent reference is made to the vast recorded legacy of African music, and readers are encouraged to explore them to gain a deeper appreciation of the music. The book illuminates both the structural and the expressive dimensions of black African music and is designed to engender dialogue between scholars of music and ethnographers, music analysts and composers.Less

The African Imagination in Music

Kofi Agawu

Published in print: 2016-04-01

Conceived as an introduction to a vast, immensely rich and diverse set of repertories, this book explores the sounding forms of Sub-Saharan African music. Aimed at a general musical readership, it describes the major dimensions of African music and the values upon which they are built. An opening chapter invites readers to sample the basic qualities of African music and reflect on the challenges of writing about African music. In subsequent chapters, the book discusses the place of music in society, musical instruments, the relationship between language and music, rhythm, melody, form, and harmony. A final chapter traces various appropriations of African music. In conveying the dynamics within each of the core dimensions, a broad orientation is typically supplemented by close readings of selected repertory items. These include an Ewe dirge, an Nkundo lullaby, an Aka Pygmy children’s song, an item of Central African entertainment music, an art song, and a piano etude. Although the focus throughout is on Africa’s “traditional” heritage, here regarded as the backbone of Africa’s musical thinking, a few items of popular and art music are included to demonstrate the range of African musical imagining. Frequent reference is made to the vast recorded legacy of African music, and readers are encouraged to explore them to gain a deeper appreciation of the music. The book illuminates both the structural and the expressive dimensions of black African music and is designed to engender dialogue between scholars of music and ethnographers, music analysts and composers.

This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through ...
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This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through prose, diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures—court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia. Thus the essays diversify and expand the scope of this book’s companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world-music traditions and popular music genres, and of Balinese music and European Art music, raising questions about the musical encounters and fusions of today’s interconnected world.Less

Analytical and Cross-Cultural Studies in World Music

Published in print: 2011-10-12

This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through prose, diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures—court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia. Thus the essays diversify and expand the scope of this book’s companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world-music traditions and popular music genres, and of Balinese music and European Art music, raising questions about the musical encounters and fusions of today’s interconnected world.

Audible States examines how elites have governed politically and aesthetically meaningful spaces of silence and sound in Albania since 1945. Interweaving archival research with ethnographic ...
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Audible States examines how elites have governed politically and aesthetically meaningful spaces of silence and sound in Albania since 1945. Interweaving archival research with ethnographic interviews, author Nicholas Tochka argues that modern political orders do not simply render social life visible, but also audible. And in rendering social life audible, states make reality governable in significant, albeit unpredictable, ways. The book’s chronological narrative presents an aural history of government through the close examination of a state-subsidized popular genre, light music, as broadcast at an annual song competition, Radio-Television Albania’s Festival of Song. Drawing on a wide range of archival resources and over forty interviews with composers, lyricists, singers, and bureaucrats, it describes how popular music became integral to governmental projects to improve society—and a major concern for both state-socialist and postsocialist regimes. Incorporating insights from governmentality studies, Audible States presents a new perspective on music and government that reveals the fluid, pervasive but ultimately limited nature of state power in the modern world. In doing this, it addresses ongoing conversations in ethnomusicology, area studies, and cultural studies of the Cold War.Less

Audible States : Socialist Politics and Popular Music in Albania

Nicholas Tochka

Published in print: 2017-01-05

Audible States examines how elites have governed politically and aesthetically meaningful spaces of silence and sound in Albania since 1945. Interweaving archival research with ethnographic interviews, author Nicholas Tochka argues that modern political orders do not simply render social life visible, but also audible. And in rendering social life audible, states make reality governable in significant, albeit unpredictable, ways. The book’s chronological narrative presents an aural history of government through the close examination of a state-subsidized popular genre, light music, as broadcast at an annual song competition, Radio-Television Albania’s Festival of Song. Drawing on a wide range of archival resources and over forty interviews with composers, lyricists, singers, and bureaucrats, it describes how popular music became integral to governmental projects to improve society—and a major concern for both state-socialist and postsocialist regimes. Incorporating insights from governmentality studies, Audible States presents a new perspective on music and government that reveals the fluid, pervasive but ultimately limited nature of state power in the modern world. In doing this, it addresses ongoing conversations in ethnomusicology, area studies, and cultural studies of the Cold War.

Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in ...
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Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.Less

Behind the Curtain : Making Music in Mumbai's Film Studios

Gregory D. Booth

Published in print: 2008-10-13

Beginning in the 1930s, men, and a handful of women, came from India's many communities — Marathi, Parsi, Goan, North Indian, and many others — to Mumbai to work in an industry that constituted in the words of some, “the original fusion music”. They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name “Bollywood,” but the musicians themselves remain, in their own words, “behind the curtain” — the anonymous and unseen performers of one of the world's most celebrated popular music genres. This book offers an account of the Bollywood film-music industry from the perspective of the musicians who both experienced and shaped its history. In an insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, the author explains who these unknown musicians were and how they came to join the film-music industry. On the basis of a set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creators and performers. The author also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s–90s, as well as the factors which ultimately led to their demise in contemporary India.

Western medicine has conventionally separated music, science, and religion into distinct entities, yet traditional cultures throughout the world have always viewed music as a bridge that connects and ...
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Western medicine has conventionally separated music, science, and religion into distinct entities, yet traditional cultures throughout the world have always viewed music as a bridge that connects and balances the physical with the spiritual to promote health and healing. As people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare, more and more people are now turning to these ancient cultural practices of holistic and ICAM healing (integrative, complementary, and alternative medicine). This book convincingly demonstrates the relevance of medical ethnomusicology in light of the globally spreading ICAM approaches to health and healing. Revealing the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, the book confirms their underlying unity. In a place poetically known as the Roof of the World, the culture found within the towering Pamir Mountains of Badakhshan Tajikistan serves as the paradigm of ICAM healing practices. The book’s research and immersion into the Badakhshani culture provides a well-balanced “insider” perspective while maintaining an “observer’s” view, as it effectively bridges the widespread gaps between ethnomusicology, health science, and music therapy.Less

Beyond the Roof of the World : Music, Prayer, and Healing in the Pamir Mountains

Benjamin D. Koen

Published in print: 2008-10-29

Western medicine has conventionally separated music, science, and religion into distinct entities, yet traditional cultures throughout the world have always viewed music as a bridge that connects and balances the physical with the spiritual to promote health and healing. As people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare, more and more people are now turning to these ancient cultural practices of holistic and ICAM healing (integrative, complementary, and alternative medicine). This book convincingly demonstrates the relevance of medical ethnomusicology in light of the globally spreading ICAM approaches to health and healing. Revealing the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, the book confirms their underlying unity. In a place poetically known as the Roof of the World, the culture found within the towering Pamir Mountains of Badakhshan Tajikistan serves as the paradigm of ICAM healing practices. The book’s research and immersion into the Badakhshani culture provides a well-balanced “insider” perspective while maintaining an “observer’s” view, as it effectively bridges the widespread gaps between ethnomusicology, health science, and music therapy.

This book surveys the music of seventy years of Hindi films and provides a long-term investigation of film songs and their musical and cinematic conventions. Focusing on the music of Hindi language ...
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This book surveys the music of seventy years of Hindi films and provides a long-term investigation of film songs and their musical and cinematic conventions. Focusing on the music of Hindi language films (i.e. Bollywood) in their historical, social, and commercial contexts, the author pays special attention to the meanings that songs generate inside and outside film narratives and within Indian society at large. Songs are a vital component of film promotion on broadcast media, are distributed via soundtracks by music companies, and have long been the hegemonic popular music genre in India (even for people who rarely watch the films for which the songs were written). The book illustrates how film songs are produced through the collaboration of film directors, music directors (composers), lyricists, musicians, and singers in order to enhance the film narrative, but also to have commercial success outside of the film. Through close musical and multimedia analysis of more than twenty landmark songs, along with biographical and musical descriptions of the people who have crafted and performed these songs, this book illustrates how the creators of Hindi film songs have always mediated a variety of musical styles, instruments, and performance practices from Indian and international sources in order to produce a distinctive Indian music genre. This genre has always had cosmopolitan orientations, yet has consistently retained discrete sound and production practices over its long history.Less

Bollywood Sounds : The Cosmopolitan Mediations of Hindi Film Song

Jayson Beaster-Jones

Published in print: 2014-11-07

This book surveys the music of seventy years of Hindi films and provides a long-term investigation of film songs and their musical and cinematic conventions. Focusing on the music of Hindi language films (i.e. Bollywood) in their historical, social, and commercial contexts, the author pays special attention to the meanings that songs generate inside and outside film narratives and within Indian society at large. Songs are a vital component of film promotion on broadcast media, are distributed via soundtracks by music companies, and have long been the hegemonic popular music genre in India (even for people who rarely watch the films for which the songs were written). The book illustrates how film songs are produced through the collaboration of film directors, music directors (composers), lyricists, musicians, and singers in order to enhance the film narrative, but also to have commercial success outside of the film. Through close musical and multimedia analysis of more than twenty landmark songs, along with biographical and musical descriptions of the people who have crafted and performed these songs, this book illustrates how the creators of Hindi film songs have always mediated a variety of musical styles, instruments, and performance practices from Indian and international sources in order to produce a distinctive Indian music genre. This genre has always had cosmopolitan orientations, yet has consistently retained discrete sound and production practices over its long history.

This book explores the life and performance practices of the Irish sean-nós singer Joe Heaney (1919–1984). Born in Connemara, Ireland, as an autonomous state was about to be created, Heaney grew up ...
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This book explores the life and performance practices of the Irish sean-nós singer Joe Heaney (1919–1984). Born in Connemara, Ireland, as an autonomous state was about to be created, Heaney grew up speaking the Irish language on a windswept coastal landscape, where he absorbed a rich oral heritage in Irish and in his second language, English. Circumstances took him abroad, and eventually to the United States; he performed and sang his way through life, seeking to accomplish his quest of recognition for an art that was understood as such by only a few. His ability to enthrall and mesmerize his audiences in North America became legendary. That the songs and stories he presented in performance were rooted in a Gaelic culture strange to most of his audiences made his capacity all the more remarkable. This book traces the trajectory that led Heaney to present certain songs and stories to his audiences while excluding others. It offers song texts, translations, and musical transcriptions, together with a detailed discussion of their function and significance for the song man. The authors highlight issues of masculinity, language, religion, history, authenticity, and identity as part of their work in uncovering one Irishman's presentation of self, region, and nation. Many of the works can be heard on a web site constructed as an accompaniment to this book. The book makes for a rich feast of material, exposing the often-thorny decisions made by a stellar performer to forge a professional repertoire from material he had absorbed in his youth.Less

Bright Star of the West : Joe Heaney, Irish Song Man

Sean WilliamsLillis Ó Laoire

Published in print: 2011-04-12

This book explores the life and performance practices of the Irish sean-nós singer Joe Heaney (1919–1984). Born in Connemara, Ireland, as an autonomous state was about to be created, Heaney grew up speaking the Irish language on a windswept coastal landscape, where he absorbed a rich oral heritage in Irish and in his second language, English. Circumstances took him abroad, and eventually to the United States; he performed and sang his way through life, seeking to accomplish his quest of recognition for an art that was understood as such by only a few. His ability to enthrall and mesmerize his audiences in North America became legendary. That the songs and stories he presented in performance were rooted in a Gaelic culture strange to most of his audiences made his capacity all the more remarkable. This book traces the trajectory that led Heaney to present certain songs and stories to his audiences while excluding others. It offers song texts, translations, and musical transcriptions, together with a detailed discussion of their function and significance for the song man. The authors highlight issues of masculinity, language, religion, history, authenticity, and identity as part of their work in uncovering one Irishman's presentation of self, region, and nation. Many of the works can be heard on a web site constructed as an accompaniment to this book. The book makes for a rich feast of material, exposing the often-thorny decisions made by a stellar performer to forge a professional repertoire from material he had absorbed in his youth.

Carmen and the Staging of Spain explores the Belle Époque fascination with Spanish entertainment that refashioned Bizet’s opera and gave rise to an international “Carmen industry.” Authors Michael ...
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Carmen and the Staging of Spain explores the Belle Époque fascination with Spanish entertainment that refashioned Bizet’s opera and gave rise to an international “Carmen industry.” Authors Michael Christoforidis and Elizabeth Kertesz challenge the notion of Carmen as an unchanging exotic construct, tracing the ways in which performers and productions responded to evolving fashions for Spanish style from its 1875 premiere to 1915.
Focusing on selected realizations of the opera in Paris, London, and New York, Christoforidis and Kertesz explore the cycles of influence between the opera and its parodies; adaptations in spoken drama, ballet and film; and the panorama of flamenco, Spanish dance, and musical entertainments. Their findings also uncover Carmen's dynamic interaction with issues of Hispanic identity against the backdrop of Spain's changing international fortunes.
The Spanish response to this now most-Spanish of operas is illuminated by its early reception in Madrid and Barcelona, adaptations to local theatrical genres, and impact on Spanish composers of the time. A series of Spanish Carmens, from opera singers Elena Sanz and Maria Gay to the infamous music-hall star La Belle Otero, had a crucial influence on the interpretation of the title role. Their stories provide a fresh context for the book's reappraisal of leading Carmens of the era, including Emma Calvé and Geraldine Farrar.Less

Carmen and the Staging of Spain : Recasting Bizet's Opera in the Belle Epoque

Michael ChristoforidisElizabeth Kertesz

Published in print: 2018-12-27

Carmen and the Staging of Spain explores the Belle Époque fascination with Spanish entertainment that refashioned Bizet’s opera and gave rise to an international “Carmen industry.” Authors Michael Christoforidis and Elizabeth Kertesz challenge the notion of Carmen as an unchanging exotic construct, tracing the ways in which performers and productions responded to evolving fashions for Spanish style from its 1875 premiere to 1915.
Focusing on selected realizations of the opera in Paris, London, and New York, Christoforidis and Kertesz explore the cycles of influence between the opera and its parodies; adaptations in spoken drama, ballet and film; and the panorama of flamenco, Spanish dance, and musical entertainments. Their findings also uncover Carmen's dynamic interaction with issues of Hispanic identity against the backdrop of Spain's changing international fortunes.
The Spanish response to this now most-Spanish of operas is illuminated by its early reception in Madrid and Barcelona, adaptations to local theatrical genres, and impact on Spanish composers of the time. A series of Spanish Carmens, from opera singers Elena Sanz and Maria Gay to the infamous music-hall star La Belle Otero, had a crucial influence on the interpretation of the title role. Their stories provide a fresh context for the book's reappraisal of leading Carmens of the era, including Emma Calvé and Geraldine Farrar.

Despite the continuing interest in historically informed vocal and instrumental performance practice, the relationship between a composer's notation and the sounds it was intended to elicit remains ...
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Despite the continuing interest in historically informed vocal and instrumental performance practice, the relationship between a composer's notation and the sounds it was intended to elicit remains problematic. Early recordings reveal a strikingly different sound and style from modern practice, and written sources indicate that earlier practice was even more radically different. This book looks beyond modern responses to the notation in an attempt to understand how Classical and Romantic composers may have expected to hear their music realized in performance. Theories of accentuation and their relationship to practice are discussed in relation to the notation of accents and dynamics. Similarly, articulation and phrasing are examined in theory and practice as well as in relation to composers' articulation markings and slurs. String bowing is treated as a special case, since detailed bowing instructions provide particularly important evidence of the difference between historical and current practice. Aspects of tempo are covered in detail in four chapters: evolving tempo conventions, the impact of the metronome, the range of meanings of tempo terms, the practices of particular composers, and various types of tempo modification are examined. Changing attitudes to embellishment, ornamentation, and improvization during the period are discussed in general; and individual chapters examine particular issues relating to appoggiaturas, trills, turns and other ornaments, vibrato, and portamento. A final section deals with the fermata, recitative, arpeggiation in keyboard playing; the variable dot of prolongation and other aspects of rhythmic flexibility; and the conventions of ‘heavy’ and ‘light’ performance.Less

Classical and Romantic Performing Practice 1750-1900

Clive Brown

Published in print: 1999-11-25

Despite the continuing interest in historically informed vocal and instrumental performance practice, the relationship between a composer's notation and the sounds it was intended to elicit remains problematic. Early recordings reveal a strikingly different sound and style from modern practice, and written sources indicate that earlier practice was even more radically different. This book looks beyond modern responses to the notation in an attempt to understand how Classical and Romantic composers may have expected to hear their music realized in performance. Theories of accentuation and their relationship to practice are discussed in relation to the notation of accents and dynamics. Similarly, articulation and phrasing are examined in theory and practice as well as in relation to composers' articulation markings and slurs. String bowing is treated as a special case, since detailed bowing instructions provide particularly important evidence of the difference between historical and current practice. Aspects of tempo are covered in detail in four chapters: evolving tempo conventions, the impact of the metronome, the range of meanings of tempo terms, the practices of particular composers, and various types of tempo modification are examined. Changing attitudes to embellishment, ornamentation, and improvization during the period are discussed in general; and individual chapters examine particular issues relating to appoggiaturas, trills, turns and other ornaments, vibrato, and portamento. A final section deals with the fermata, recitative, arpeggiation in keyboard playing; the variable dot of prolongation and other aspects of rhythmic flexibility; and the conventions of ‘heavy’ and ‘light’ performance.

This book reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For two and a half centuries, the Philippine Islands were linked to Latin America and Spain ...
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This book reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For two and a half centuries, the Philippine Islands were linked to Latin America and Spain through transoceanic relationships of politics, religion, trade, and culture. Manila, founded in 1571, represented a vital locus of intercultural exchange and a significant conduit for the regional diffusion of Western music. Within Manila's ethnically diverse society, imported and local musics played a crucial role in the establishment of ecclesiastical hierarchies in the Philippines, and the advancement of Roman Catholic evangelization in surrounding territories. The metaphors of European counterpoint and enharmony are used to critique musical practices within the colonial milieu, where multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities. This study argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. Active indigenous appropriation of Spanish music and dance constituted a significant contribution to the process of hispanization. Sustained “enharmonic engagement” between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Manila's religious institutions resounded with sumptuous vocal and instrumental performances, while an annual calendar of festivities brought together many musical traditions of the native and immigrant populations in complex forms of artistic interaction and opposition.Less

Colonial Counterpoint : Music in Early Modern Manila

D. R. M. Irving

Published in print: 2010-05-12

This book reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For two and a half centuries, the Philippine Islands were linked to Latin America and Spain through transoceanic relationships of politics, religion, trade, and culture. Manila, founded in 1571, represented a vital locus of intercultural exchange and a significant conduit for the regional diffusion of Western music. Within Manila's ethnically diverse society, imported and local musics played a crucial role in the establishment of ecclesiastical hierarchies in the Philippines, and the advancement of Roman Catholic evangelization in surrounding territories. The metaphors of European counterpoint and enharmony are used to critique musical practices within the colonial milieu, where multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities. This study argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. Active indigenous appropriation of Spanish music and dance constituted a significant contribution to the process of hispanization. Sustained “enharmonic engagement” between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Manila's religious institutions resounded with sumptuous vocal and instrumental performances, while an annual calendar of festivities brought together many musical traditions of the native and immigrant populations in complex forms of artistic interaction and opposition.

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